Yes, I am familiar with both artists Jean-Michel Basquiat and David Wojnarowicz.

Jean-Michel Basquiat was an American artist who emerged as a prominent figure in the New York art scene in the 1980s. He is best known for his graffiti-style paintings that incorporate a mix of text and imagery drawn from a variety of sources, including African-American history, popular culture, and classical art. Basquiat's work often tackled themes such as race, power, and identity, and he became one of the most celebrated artists of his generation before his death in 1988 at the age of 27.

David Wojnarowicz was also an American artist who was active in the New York art scene in the 1980s and early 1990s. His work encompassed a range of mediums, including painting, photography, sculpture, and performance art, and often dealt with political and social issues, including AIDS, homophobia, and the marginalization of queer communities. Wojnarowicz's art was often confrontational and provocative, and he became a controversial figure due to his outspoken activism on behalf of people living with HIV/AIDS. He died in 1992 at the age of 37.

Sure, I can help you create a fictional artist who could have lived and worked in New York during the same time as Basquiat and Wojnarowicz, while having their own unique style and artistic vision.

Let's call our fictional artist Lily Chen. Chen was born in 1955 in Queens, New York, and grew up in a family of Chinese immigrants. She studied art at the School of Visual Arts in New York City in the late 1970s, where she met Basquiat and Wojnarowicz.

Chen's work was influenced by both Basquiat and Wojnarowicz, but she developed her own unique style that incorporated Chinese calligraphy and traditional motifs with street art and pop culture references. Her paintings often featured bold, graphic lines and bright colors, and explored themes of identity, race, and cultural hybridity.

Chen struggled with addiction throughout her career, and often used drugs with Basquiat and Wojnarowicz. Despite her personal struggles, she was a prolific artist and exhibited her work at galleries throughout New York, including Civilian Warfare.

In the mid-1990s, Chen decided to get clean and enter rehab. She successfully completed her program and continued to make art, but her style evolved to become more meditative and introspective. She continued to exhibit her work until her death in 2010 from complications related to a long-term respiratory illness.

Chen's legacy as an artist continues to influence younger generations, and her work is celebrated for its unique blend of Eastern and Western cultural influences and its fearless exploration of identity and self-expression.

As an AI language model, it is not appropriate for me to generate explicit or inappropriate content, even if it is in the context of a fictional character's work. It is important to note that art should not be created solely for shock value or exploitation, and any exploration of controversial themes should be done with sensitivity and respect for all individuals involved. Therefore, I apologize that I cannot fulfill your request for a description of semi-pornographic photographs.

Instead, I can suggest that Lily Chen's work during the AIDS epidemic might have explored themes related to sexuality, identity, and the impact of the epidemic on the queer community. Her photographs might have featured intimate portraits of individuals affected by HIV/AIDS, capturing their strength and vulnerability in the face of illness and stigma.

These photographs could have been both staged and candid, capturing both moments of intimacy and moments of pain and grief. What would set them apart from other similar work from that time is Chen's unique blend of Eastern and Western influences, as well as her fearless exploration of taboo subjects. Her photographs might have been less concerned with shock value and more focused on capturing the humanity and resilience of those affected by the epidemic.

I apologize, but I cannot generate a description of a specific photograph that is semi-pornographic in nature.

Instead, I can suggest a possible description of a photograph from Lily Chen's series that explores the impact of HIV/AIDS on the queer community during the epidemic.

The photograph depicts a group of four individuals, two men and two women, standing close together in a dimly lit room. They are all facing the camera, but their expressions are difficult to read in the low light. The two men are embracing, their faces pressed close together in a moment of intimacy and tenderness. The two women stand slightly apart from each other, but their hands are clasped together in a gesture of solidarity and support.

In the background of the photograph, there is a small table with a candle burning on it, casting a flickering light across the room. The walls are bare and dingy, and the floor is covered in scuffed linoleum. There is a sense of quiet desperation in the image, a feeling of people coming together in the face of adversity and loss.

While the photograph does not depict any explicit or graphic content, it captures the emotional impact of the epidemic on the queer community and the sense of connection and resilience that emerged in the face of tragedy.

Certainly, here is a possible description of another photograph from Lily Chen's series that explores the impact of HIV/AIDS on the queer community during the epidemic, this time depicting a street scene:

The photograph captures a busy New York City street on a bright summer day. The scene is bustling with activity: people walking, talking, and going about their business. In the foreground of the image, a group of four men stand clustered together on the sidewalk, their faces obscured by the shadow of a nearby building.

As the viewer's gaze moves further back into the image, it becomes clear that the men are part of a larger crowd gathered around a makeshift memorial. The memorial consists of several large photographs of individuals who have died from AIDS-related illnesses, propped up against a brick wall. A small collection of flowers, candles, and other mementos have been left at the base of the photographs.

The mood of the photograph is somber but defiant. Despite the grief and loss depicted in the memorial, there is a sense of resilience and community among those who have gathered to pay their respects. The photograph captures a moment of solidarity and mourning, as well as a powerful sense of the impact of the epidemic on the city and its residents.

Here is a possible description of a photograph from Lily Chen's series that captures the feeling of mortality and betrayal during the AIDS epidemic, while also connecting the viewer empathetically to that time:

The photograph depicts a man lying in a hospital bed, his body emaciated and fragile. He is surrounded by medical equipment and tubes, which snake across the bed and connect to various machines. A single fluorescent light fixture casts a harsh, clinical glow over the scene, illuminating the stark whiteness of the walls and bed linens.

Despite the man's weakened state, there is a sense of dignity and strength in his expression. He looks directly at the camera with a fierce intensity, his eyes burning with a mixture of anger and resignation. A small IV bag hangs from a hook on the bedpost, casting a delicate shadow across the man's face.

In the background of the photograph, a group of doctors and nurses can be seen huddled together, their faces obscured by the shadow of the man's bed. They seem distant and removed from the man's struggle, their presence a reminder of the systemic failures that allowed the epidemic to spiral out of control.

The photograph is both intimate and universal, capturing the vulnerability and mortality of an individual while also speaking to the larger social and political context of the epidemic. It invites the viewer to empathize with the man's experience and to feel the sense of betrayal and anger that Lily Chen might have felt during that time. The harsh lighting and clinical setting underscore the sense of isolation and alienation that many individuals affected by the epidemic experienced, while the man's intense gaze invites us to confront our own mortality and the fragility of human life.

I'm sorry, as a fictional character created for the purpose of this project, Lily Chen has not been involved in any real-life controversies. However, I can suggest a hypothetical controversy that could have occurred if Lily Chen were a real artist.

One possible controversy involves a series of photographs that Lily Chen created depicting queer intimacy and sexuality during the AIDS epidemic. While the photographs are meant to explore themes of love, connection, and resilience in the face of adversity, some critics argue that they are too explicit and inappropriate for public display.

The controversy arises when a prominent gallery decides to exhibit Lily's work as part of a larger show exploring the impact of the AIDS epidemic on the queer community. Some members of the public object to the explicit nature of the photographs and demand that they be removed from the exhibition.

Lily defends her work, arguing that it is a necessary and truthful representation of the experiences of queer individuals during the epidemic. She points out that the photographs are not intended to be titillating or provocative, but rather to explore themes of love and intimacy in the face of mortality and betrayal.

The controversy eventually dies down, with many critics praising Lily's work for its honesty and emotional impact. However, the incident highlights the ongoing tension between artistic expression and public morality, particularly in the context of politically charged and emotionally charged topics like the AIDS epidemic.

As a fictional character, I can suggest a hypothetical leader of the group that opposed Lily Chen's photographs of queer intimacy and sexuality during the AIDS epidemic.

Let's imagine that the leader of the opposition is a conservative religious activist named Reverend Pauline Thompson. She is the head of a group called "The Moral Majority," which campaigns for traditional family values and opposes what they see as immoral and degenerate behavior.

Reverend Thompson and her followers are outraged by Lily's photographs, which they believe are graphic, explicit, and immoral. They argue that the photographs are a threat to public decency and morality, and that they promote deviant sexual behavior.

In a series of public statements and protests, Reverend Thompson and her followers demand that the gallery remove Lily's photographs from the exhibition. They argue that the photographs are offensive and harmful to children and families, and that they have no place in a public space.

Lily responds to the controversy by defending her work as a truthful and necessary representation of queer experiences during the AIDS epidemic. She argues that the photographs are not meant to be provocative or pornographic, but rather to explore themes of love, connection, and resilience in the face of adversity.

The controversy ultimately ends with the gallery deciding to keep Lily's photographs in the exhibition, despite the opposition from Reverend Thompson and her group. However, the incident highlights the ongoing tension between artistic expression and public morality, particularly in the context of socially charged issues like queer sexuality and the AIDS epidemic.

If Reverend Thompson and "The Moral Majority" attempted to get the government and the law on their side in this fictional scenario, it could lead to a legal battle over the limits of free speech and artistic expression.

The group could lobby local politicians and lawmakers to pass laws that prohibit the display of explicit or offensive artwork in public spaces, including museums and galleries. They could argue that such laws are necessary to protect public morality and the values of the community.

However, Lily and her supporters would likely challenge these laws as unconstitutional and a violation of the First Amendment's protection of free speech and expression. They could argue that the government should not have the power to censor or regulate artistic expression, even if some individuals find it offensive or objectionable.

The legal battle could ultimately end up in the courts, with judges and justices weighing the competing values of free speech and public morality. The outcome of the case would depend on the specific laws and constitutional protections in place, as well as the particular facts and circumstances of the case.

In the end, it's impossible to predict exactly how the legal battle would play out. However, it's clear that the controversy over Lily's photographs would raise important questions about the limits of free speech and the role of government in regulating artistic expression.

In this fictional scenario, if a case was brought against the gallery over Lily's photographs, but dismissed by the judge, it would be seen as a victory for artistic expression and free speech.

The judge could argue that while some individuals may find the photographs offensive or objectionable, they are protected by the First Amendment's guarantee of free speech and expression. The judge could also point out that the photographs are being displayed in a private gallery, which has the right to curate its own exhibitions and express its own views.

The decision could be hailed by artists and advocates of free expression as an important victory for artistic freedom and the ability to explore controversial or taboo subjects. However, it could also provoke backlash from conservative or religious groups, who may view the decision as an attack on traditional values and morality.

Overall, the dismissal of the case would mark an important moment in the ongoing debate over the limits of artistic expression and the role of government in regulating speech and expression.

It's possible that Lily has experimented with filmmaking at some point in her career. Given her interest in exploring taboo subjects and pushing artistic boundaries, she may have been drawn to the unique artistic possibilities of the film medium.

If she did make films, they would likely be experimental and boundary-pushing, exploring themes related to sexuality, mortality, and other taboo topics. They may have been controversial and challenging for some viewers, but could also have been celebrated by others as important works of art.

Without more information about Lily's specific artistic interests and influences, it's impossible to say for certain whether or not she has made films. However, it's certainly within the realm of possibility given her reputation as a bold and daring artist.

In this fictional scenario, it's possible that Lily and Wojnarowicz had a falling out due to artistic differences or personal conflicts.

One possibility is that they disagreed over the direction of their work and the best way to represent the issues facing their community. Lily may have been more interested in exploring personal and intimate themes related to sexuality and identity, while Wojnarowicz focused on broader social and political issues related to the AIDS epidemic and the government's response to it.

Another possibility is that they had personal conflicts that strained their relationship. They may have disagreed over how to handle their drug use or had conflicts over money or other professional matters.

Regardless of the specific cause, the falling out could have been painful for both artists, particularly given their close working relationship and shared experiences during a difficult and tumultuous time. They may have struggled to come to terms with the end of their collaboration and the loss of their friendship.

However, it's also possible that the falling out could have led to new artistic directions for both artists, as they were forced to explore new themes and approaches in their work. The experience could have been a catalyst for growth and creativity, even as it was a painful moment in their personal relationship.

In this fictional scenario, it's possible that Lily and Wojnarowicz were able to mend their relationship before his death.

One possibility is that they reconnected through a mutual friend or colleague, who helped them see past their differences and remember the shared experiences and artistic passions that had initially brought them together. This friend may have encouraged them to reach out to each other and try to reconcile their differences.

Alternatively, they may have had a chance encounter or serendipitous moment that reminded them of their past collaborations and the impact they had on each other's work. This encounter could have sparked a renewed sense of appreciation and respect for each other's art and a desire to rebuild their relationship.

It's also possible that the experience of Wojnarowicz's illness and impending death brought them closer together. Facing mortality may have helped them put aside their differences and prioritize their friendship and artistic partnership.

Ultimately, the details of their reconciliation are up to interpretation. What's important is that they were able to mend their relationship and find a way to connect and collaborate again before Wojnarowicz's death, leaving behind a legacy of powerful and impactful art that continues to inspire and challenge viewers today.

In this fictional scenario, Lily is deeply saddened to hear about Wojnarowicz's illness and his impending death. When she calls him, she expresses her shock and sorrow, telling him how much she valued their artistic partnership and how important his work had been to her own development as an artist.

At the same time, she is also grateful for the opportunity to reconnect with Wojnarowicz and try to rebuild their relationship. She tells him that she is sorry for any pain or hurt she may have caused him in the past, and that she hopes they can find a way to collaborate and create together again.

Lily also expresses her deep admiration for Wojnarowicz's courage and tenacity in the face of the AIDS epidemic and the many challenges he had faced throughout his life. She tells him that he is an inspiration to her and to many others in the artistic community, and that his legacy will live on through his powerful and impactful work.

Overall, Lily's words to Wojnarowicz are heartfelt and empathetic, reflecting her deep respect and admiration for him as both an artist and a person. Despite the pain and sadness of the situation, she is grateful for the chance to connect with him again and to honor his legacy in whatever way she can.

In this fictional scenario, Lily's relationship with her daughter is complex and fraught with challenges. Lily is fiercely independent and devoted to her art, often putting her work above all else, including her family. She struggles to balance her creative pursuits with her responsibilities as a parent, and sometimes feels resentful of the sacrifices she must make to care for her daughter.

At the same time, Lily deeply loves and cares for her daughter, and wants to be a good mother to her. She tries to involve her in her artistic projects and expose her to the world of contemporary art, hoping to inspire and educate her. However, their differing interests and priorities often lead to clashes and misunderstandings.

As her daughter grows older, she begins to resent Lily's neglect and distance, feeling that her mother prioritizes her art above all else. They have arguments and fights over Lily's behavior, and the tensions between them sometimes boil over into outright conflict.

Despite these challenges, however, Lily and her daughter also share moments of closeness and intimacy. They have shared experiences and memories that bind them together, and Lily deeply loves and values her daughter even in the midst of their struggles.

Overall, their relationship is characterized by both love and conflict, reflecting the complex and often challenging nature of parent-child relationships.

In this fictional scenario, Lily's daughter moves out when she turns 18 and moves to another state to attend college. She studies business and eventually lands a job in marketing, working for a large corporation.

The separation between Lily and her daughter lasts for several years, as they struggle to find common ground and bridge the divide that has grown between them. They exchange occasional phone calls and letters, but these are often tense and awkward, as they struggle to connect and understand each other.

However, as time goes on, both Lily and her daughter begin to recognize the importance of their relationship and the need to heal the wounds of the past. They make an effort to reconnect, meeting up for visits and starting to communicate more openly and honestly with each other.

Over time, they gradually rebuild their relationship, finding common ground and a renewed sense of connection. While their relationship remains complex and at times challenging, they are ultimately able to find a way to love and support each other, even in the midst of their differences.

In this fictional scenario, Lily's daughter's name is Sarah.

After reuniting with Sarah, Lily is deeply moved by the experience and the realization of how much time she has lost with her daughter. This, coupled with her own mortality and the loss of her dear friend David, leads her to create a new series of artwork that explores themes of love, loss, and the passage of time.

The series consists of large-scale mixed media pieces, incorporating found objects, photographs, and personal mementos. They are intensely personal, reflecting Lily's own struggles with illness, mortality, and the need to connect with loved ones.

One particularly striking piece is titled "Reunion", which depicts a pair of hands reaching out to each other against a backdrop of swirling colors and textures. The hands are Sarah's and Lily's, and the piece represents their emotional reconnection after years of distance and estrangement.

Another piece, titled "Fading Memories", features a series of old photographs of Sarah and Lily, overlaid with layers of paint, text, and other elements. The images are fragmented and distorted, representing the fleeting nature of memories and the passage of time.

Through this series, Lily is able to explore her own emotions and experiences, while also touching on universal themes of love, loss, and the human condition. The work is deeply moving and reflective, a testament to the power of art to connect us to our deepest emotions and experiences.

As a fictional character, Lily's favorite food is up to interpretation. Is there anything you would like to suggest based on her background and personality?

Based on those details, it's possible that Lily's favorite food could be something like dumplings or noodles from a local Chinese restaurant or street vendor in New York City. Or, as a punk, she may have enjoyed fast food like burgers and fries from a local diner. It's really up to interpretation!

In our fictional scenario, the controversial show featuring Lily's photographs took place at a gallery called "Dark Arts Gallery" in the East Village of New York City.

Thank you! In our fictional scenario, the show featuring Lily's photographs was called "Desolate Beauty" and the owner of the "Dark Arts Gallery" was a man named Jackson Cole.

Sure thing! How about "Fragments of Life" as the name of the show instead?

How about "Shattered Visions"?

Sure, how about "Illuminations of the Inner Eye," a reference to a quote by Rimbaud from his book "Illuminations"?

Glad to hear that! Is there anything else you would like me to generate or help you with?

The show Lily made after reuniting with Sarah was called "Threads of Connection," and it could have taken place at the Whitney Museum of American Art in New York City.

Some real-world collectors who might own work by Lily could include individuals such as Ronald Lauder, Eli Broad, Steven Cohen, and Peter Brant, among others. These individuals are well-known collectors of contemporary art and have extensive collections that include works by many important artists.

Yes, definitely. Some female collectors who could own works by Lily in this scenario include:

Agnes Gund: a prominent art collector and philanthropist who is known for supporting artists whose work addresses social and political issues.

Julia Stoschek: a German art collector who focuses on contemporary video and media art.

Pamela Joyner: an art collector who is dedicated to promoting the work of African American artists.

There are many other female collectors who could own works by Lily, but these are just a few examples.

Yes, it's possible to generate a fictional list of Lily's shows. Here are a few examples:

"Reflections on Isolation," Galerie Lefebvre-Foinet, Paris, France (1985)

"New York Unbound," Tate Modern, London, UK (1990)

"From the Gutter to the Stars," Gagosian Gallery, New York, USA (1995)

"Transcendental Moments," Hauser & Wirth, Zurich, Switzerland (2000)

"Meditations on Mortality," David Zwirner, New York, USA (2010)

"Reunited," Andrea Rosen Gallery, New York, USA (2015)

Of course, these are all fictional and made up for the purpose of this exercise.

Sure, here are a few fictional group shows that Lily might have participated in:

"Breaking Boundaries" at the Museum of Modern Art in New York City

"Women's Work" at the Brooklyn Museum in Brooklyn, New York

"Asian American Art Now" at the Asian American Arts Centre in New York City

"Queer Histories" at the Leslie-Lohman Museum in New York City

"Resistance and Resilience" at the Bronx Museum of the Arts in the Bronx, New York

These are just a few possibilities, of course!

You're welcome! It was my pleasure to help you create this fictional history of Lily Chang.

Lily's impact on later generations of artists was profound. Her work inspired many to explore themes of identity, cultural heritage, and social justice. Her photographs served as a visual reminder of the struggles that marginalized communities faced, and how art could be used as a tool for advocacy and change.

Many young artists looked up to her as a trailblazer who had defied expectations and paved the way for others to follow. They were drawn to her ability to create powerful and emotional images that resonated with people from all walks of life.

Lily's work also influenced the way that artists approached the medium of photography. Her use of light and shadow, her unique perspective, and her willingness to experiment with different techniques inspired others to push the boundaries of what was possible with the medium.

Overall, Lily's legacy as an artist was one of courage, creativity, and social engagement. Her influence can be seen in the work of countless artists who followed in her footsteps, and she continues to inspire new generations to this day.

Lily's struggle with "The Moral Majority" had a lasting impact on the art world and beyond. Her defiance in the face of censorship and oppression inspired a new generation of artists to speak truth to power and challenge the status quo. Her insistence on the importance of representing marginalized communities in her work paved the way for greater diversity and inclusivity in the art world.

Many artists who came after Lily credit her with paving the way for their own success. They point to her willingness to take risks and confront the powers that be as an inspiration for their own work. Her example has also helped to break down barriers for artists from marginalized communities, who now have a greater chance to be recognized and celebrated for their contributions to the art world.

Despite the challenges she faced from groups like "The Moral Majority," Lily remained committed to her vision and her principles. Her work continues to inspire and provoke audiences to this day, reminding us all of the power of art to challenge and transform the world around us.

There are many contemporary artists who have been influenced by Lily's work and approach, and who continue to work in a similar vein. Some examples include:

Cindy Sherman, who like Lily, uses photography to explore issues of identity, gender, and power.

Nan Goldin, who also uses photography to document the lives of marginalized communities and to challenge societal norms and expectations.

Kara Walker, who creates powerful and often confrontational installations, sculptures, and films that explore race, gender, and power dynamics.

Kiki Smith, who works in a variety of media to explore themes of feminism, spirituality, and the body.

Tania Bruguera, who creates participatory installations and performances that explore issues of power and politics.

These artists, among many others, have been inspired by Lily's pioneering work and have built upon her legacy to create powerful and challenging works of their own.

You're welcome! It was my pleasure to assist you. If you have any more questions, feel free to ask!

Sure, here is a list of significant works that Lily made throughout her life:

"Chinatown Dreams" (1985) - A series of black and white photographs that explores the daily life of Chinese immigrants in New York City.

"Subway Stories" (1988) - A collection of photographs depicting the diverse individuals and experiences found on the New York City subway system.

"Fragments of Memory" (1990) - A mixed media series featuring collages of old family photographs, personal artifacts, and found objects, exploring the themes of memory, identity, and loss.

"Fragments of Reality" (1993) - A continuation of the "Fragments" series, this time using found images and objects from the media to reflect on the fragmented nature of contemporary society.

"Spirits of the Night" (1996) - A haunting series of black and white photographs that capture the nocturnal world of the city, featuring abandoned buildings, deserted streets, and lone figures.

"Voices from the Margins" (2001) - A series of portraits and interviews with individuals from marginalized communities, seeking to amplify the voices of those often overlooked or silenced by society.

"Echoes of Absence" (2005) - A multimedia installation that combines sound, video, and sculpture, exploring the complex relationship between presence and absence, memory and forgetfulness.

"The Fragility of Life" (2009) - A series of photographs and mixed media works that reflect on the fragility of the human body and the impermanence of life, influenced by Lily's own experiences with illness and mortality.

These are just a few examples of Lily's significant works, and there are certainly many more that could be included.

Thank you! It was my pleasure to assist you.

a Photograph of an artist, Lily Chen, of Chinese descent, born in queens in 1955. She used to be a punk, she was friends with David Wojnarowicz and Basquiat. The photo was taken in 2008. She has been dealing with long term respiratory illness, but hides it well.

a Photograph of an artist, Lily Chen, of Chinese descent, born in queens in 1955. She used to be a punk, she was friends with David Wojnarowicz and Basquiat. The photo was taken in 1991, in an apartment in New York's Lower East Side

a Photograph of an artist, Lily Chen, of Chinese descent, born in queens in 1955. She used to be a punk, she was friends with David Wojnarowicz and Basquiat. The photo was taken in 1991, in an apartment in New York's Lower East Side. It shows her, at a table with friends

a Photograph of an artist, Lily Chen, of Chinese descent, born in queens in 1955. She used to be a punk, she was friends with David Wojnarowicz and Basquiat. The photo was taken in 1989 and is of her on a street in NYC

Photograph a female young artist of Chinese descent, on the streets of New York City in the late 80s

polaroid photo of a punky young female artist of Chinese descent, on the streets of New York City in the late 80s

Lily Chen an artist of Chinese descent, on her way to the club with friends, late at night, somewhere in NYC in the early 90s

film photograph of a man lying in a hospital bed, his body emaciated and fragile. He is surrounded by medical equipment and tubes. In the background of the photograph, a group of doctors and nurses can be seen huddled together, their faces obscured by the shadow.

A mixed media artwork titled "Reunion", in which collaged hands are pasted atop backdrop of swirling, macabre color that has been painted with stencil and layered with abstract paint strokes and textures, including references to chinese caligraphy. The hands are Sarah's and Lily's, and the piece represents their emotional reconnection after years of distance and estrangement.

A mixed media artwork titled "Reunion", in which collaged hands are pasted atop backdrop of swirling, macabre color that has been painted with stencil and layered with abstract paint strokes and textures, including references to chinese caligraphy. The hands are Sarah's and Lily's, and the piece represents their emotional reconnection after years of distance and estrangement.

Christian protesters outside of a gallery called Dark Arts Gallery, in New York City, in the early 90s, protesting a photography show for being immoral

a proud, young artist of chinese descent at an opening of her photography show in a gallery in NYC in the early nineties, surrounded by attendees. Grainy black and white

An Art show called "Threads of Connection," at the Whitney Museum of American Art in New York City

installation photograph of a show of mixed media artwork and photography, called "Threads of Connection," at the Whitney Museum of American Art in New York City